MUSIC EVOKING MUSIC

Paola Muñoz opens a creative cycle for music in Chile: the practice of traditional instruments –in this case an early instrument– related with the aesthetic resources of electroacoustic instrumentation and procedures.
Paola’s refined musical abilities and her command of varied instrumental techniques are reunited in this series of mixed works featuring the good job of composers who really understand the new art of sounds expressed through speakers.
A young musical art, inherited from a globalized technologic culture, which from his very early beginning in the XIX century, has shown us the unusual.
The new ways to combine electronic synthesis sounds and the instruments were developed through different ways, circa 1960 –the latter not being a strict landmark for mixed music.
It is audible, not to say visible or evident, that the composers who played instruments and could manage sound laboratory techniques and synthesizers, listened to the interaction of both sounds means with tranquillity. To the extent that –and we refer to the old interactivity, the one of musicians in instrumental groups– timbric or texture fusions, the vigil for found spaces and the absolute precision of rhythm were acquired with the pleasure of making music by listening and playing what was devised from speakers.
Firstly, possible versions and interpretations were studied between the accurate player and fixed sounds on magnetophonic tapes.
Moreover, the classic instrumentalist joined his colleagues from all musics through amplification. The microphone was established as an instrument and the hidden shades of the sound matter became available to the ear.
Then, detailed scores of the electroacoustic field appeared and a new human team of musical production was spontaneously required: the musician-technician, the composer and the player-instrumentalist. A structure of collective musical creation in which functions are exchangeable.
Besides, if we add computer –to this scene– as a generation, elaboration, management and storage element, we will find ourselves very near from the dream of an electroacoustic music in real time and from all that extends to the relation with microphone based instruments and current instrumental electroacoustic composition in real time.
Previously, we referred to management as the ambivalent process of composition and interpretation but with a different temporary shade: the production of a shape in situ. A practice derived from the improvisation techniques.
Here we are in front of the acoustic continuous “treated” in thousands ways by an exceptional record player.
Not in vain, it is she, who comes to show the new. It is she who decides about a new musical genre.... and this love declaration to us –who ‘have interrogated the air’– makes us be fully grateful.
The journey through these musics and no-musics from this accurate recording is warmly recommended to you Caro Listener.
Each author has ever imagined words for his work, and as long as we all know, they are nor enough nor convincing.
Instead, it is the attention to something apart from ourselves and our immediate knowledge: it is the future listening which relates us with sound in a direct way and shape and project our love capacity.

Gabriel Brnčić, Sant Just Desvern,
February 16, 2005